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A young lady from a wealthy family, who was originally dressed as Wuyou and led an extremely wealthy life, had a status worse than a servant precisely because she was born into a concubine. However, kind-hearted people would eventually meet someone rich, and when she went on a desperate path, she would meet him, a mysterious man. He really didn't hate her that much, but at least he really loved her. He was a Sovereign King, the greatest Sovereign King in all of history, and as his woman, he made her into someone below him. The Queen above everyone else, because of her beauty that could topple empires, and his kind heart, had ultimately decided not to kill off her entire family. Instead, she raised their position as a family member, and in the end, her family was rich beyond compare, and she lived her life blissfully, becoming the happiest queen in history!
New student of Daughter of Concubine
A Time Magazine Top 10 Nonfiction book of 2011 A Publishers Weekly Best Nonfiction title for 2011 On a hill above the Italian village of Ravello sits the Villa Cimbrone, a place of fantasy and make-believe. The characters that move through Michael Holroyd's new book are destined never to meet, yet the Villa Cimbrone unites them all. A Book of Secrets is a treasure trove of hidden lives, uncelebrated achievements, and family mysteries. With grace and tender imagination, Holroyd brings a company of unknown women into the light. From Alice Keppel, the mistress of both the second Lord Grimthorpe and the Prince of Wales; to Eve Fairfax, a muse of Auguste Rodin; to the novelist Violet Trefusis, the lover of Vita Sackville-West—these women are always on the periphery of the respectable world. Also on the margins is the elusive biographer, who on occasion turns an appraising eye upon himself as part of his investigations in the maze of biography. In A Book of Secrets, Holroyd gives voice to fragile human connections and the mystery of place.
An expansive study of the novel's moral ambivalence toward procreation, from the nineteenth century through modernism to the present.
To the world, Louis Armstrong is iconic—a symbol of musical genius, unparalleled success and unassailable character. To Sharon Preston Folta, he was, simply, Dad. Despite the enduring celebration and study of Armstrong's life and career, no one, save for close family and friends, knows Sharon exists. Even in the trumpeter's death she remains Armstrong's secret—the product of a two-decade-long affair between the long-married musician, and the vaudeville dancer Lucille Preston. And for more than half a century, she has lived her life hiding in the shadows of her father's fame.Until now.Now, Sharon shares her story—extraordinary because of who her father was, but universal in its reach toward generations who have grown up in fatherless households, searching for a keen understanding of their own blood, their own DNA, their own Legacy. Little Satchmo is an extraordinary tale of identity, loss, and one daughter's ultimate search for truth—and her father's love.
Who rape me is a journey of Sidhatri. A woman who travels to the world, to tell people who rape her. As a woman, she suffers through the customs, culture, and societies, that are man-made, where women are nowhere on the list. She lives a life, in those evil customs; where Sati, Halala, FGM, breast ironing, and ethnic cleansing by killing women are rampant. She also travels to the past on the path of sex slave women. She became a woman, who suffered in the war 2, and she suffered through the force of impregnate, to produce war babies. Yet she tells her man that she is not puny but divine of his door.
With an interdisciplinary agenda, Film Phenomenologies investigates the emerging field of film phenomenology, linking the fundamental significance of early thinkers and related methods of phenomenological investigation to newer emphases and diverse voices, such as Gaston Bachelard, Karen Barad, Simone de Beauvoir, bell hooks, Iris Murdoch and Hermann Schmitz. Established scholars consider various themes, including colonial duration and the politics of refusal, feeling feminist time, the exchange of play, scalar theory and scattered bodies, spectatorship and the entanglement of montage, disability, dance and speculative embodiment, AI phenomenology and breath gestures, cinematic atmospheres, the precarious intimacy of the film screen, stardom and biopics, and Black lived experience. Divided into three parts, Film Phenomenologies offers a collective combination of phenomenological approaches, braiding classic and critical methods to explore aesthetic, embodied, ethical, and political perspectives. It is the first collection to provide a substantial engagement with diverse and inclusive directions in the field of film and media studies.